Judith Light Moves to the Desert

Judith Light has been one of America’s most popular actresses for over 30 years, from her Emmy Award-winning work as Karen Wolek on ABC’s daytime drama One Life to Live to her beloved roles as Angela Bower and Claire Meades on the primetime sitcoms Who’s the Boss and Ugly Betty to her stage triumphs in such shows as Wit, Colder Than Here, and Lombardi, for which she received Tony Award, Drama Desk, and Outer Critics Circle Award nominations last season.

Light has now returned to the stage as writer Silda Grauman — the role originated by Linda Lavin — in the Broadway production of Jon Robin Baitz’s Other Desert Cities, now in previews at the Booth Theatre. She recently spoke to TheaterMania about the role and working with castmates Rachel Griffiths, Stockard Channing, Stacy Keach, Thomas Sadoski, and director Joe Mantello.

THEATERMANIA: What was your first reaction when you were offered the role of Silda?
JUDITH LIGHT: I was thrilled and honored. Joe Mantello saw me doing a reading of another play and I think from that he knew I could do this part. And I know people might not think of me being right for Silda; I’ve heard people say, “Silda’s Jewish — where’s the Jewishness in Judith Light?” But I am Jewish. This part is one more example of what has happened throughout my career. I have had guardian angels who have allowed to me explore these versatile opportunities, like Daryl Roth and Bernie Telsey, who offered me Wit, and Thomas Kail, who thought I could play Marie Lombardi. I’ve been blessed.

TM: What would you say most attracted you to the part?
JL: Jon Robin Baitz is a genius, and I am taken with his extraordinary writing and demonstration of family dysfunction. This play is about what happens when people keep secrets and how damaging that is, and that’s such an important message.

TM: Has he changed any of the writing for Silda since you came aboard?
JL: He has added a few beats for Silda at the end of play and added some pieces for more completion in Silda’s process. I don’t want to give anything away. What’s amazing about Robbie is how he hears the music of his own words and how brilliantly orchestrated this play is .

TM: Silda is an alcoholic — she’s not even really recovering — and Marie Lombardi really liked to drink. How do you tap into the addictive side of these characters?

JL: While I don’t share their addictions, I happen to believe in many ways we are an addictive society. We’re addicted to the Internet or texting — it doesn’t what matter what the drug of choice is — so it’s not a far reach to understand that behavior. I think that whatever is troubling someone, these drugs are just a Band-aid over what’s bubbling beneath the surface and helps them cope.

TM: Do you have any insights about alcoholism?
JL: My longtime manager, Herb, has often told me the most intelligent people diminish themselves on purpose with alcohol, because other people can’t handle their power and intelligence, and I think that’s the case with Silda. And as for her not being willing to change, I also believe that when you are deeply vulnerable and life has been a disappointment, addiction is what you have left.

TM: Silda’s sister and brother-in-law, The Wyeths, are these conservative Republicans, which is a major cause of friction between them and Silda. You’re a well-known supporter of liberal causes, especially gay rights. How do you deal with people in real life like the Wyeths?
JL: I’ve known people like the Wyeths, and I’ve learned you just have to figure out how to have a wonderful relationship with them by figuring out the perfect amount of distance. I think judging people on what they do or believe, even if you don’t agree with them, ultimately doesn’t serve anybody. Silda might be happier if she believed that. I always say that it’s very important for the gay community and its supporters, like myself, to hold a mirror up to our opponents — to tell people that they’re bigoted and vitriolic. But it’s how you say it, because when anger and judgment overtakes communication, you create a problem. The way to win the battle is to stay centered with one’s own truth.

TM: Joe Mantello is often referred to in the industry as an “actor’s director.” Do you now think that true?
JL: Joe has the qualities of all great directors; they carry with them their intelligence; they communicate the specificity of what they want, and they have an overview of the play and how each character serves the piece. And he is incredibly kind. I think here, because he and Robbie know each other so well and for so long, Joe cares so much that this production be true to what Robbie wrote. This is Robbie’s first Broadway play and that’s a big deal. And I think that Joe, having gone back to being an actor so recently in The Normal Heart, now has an even greater perspective on how to relate to actors.

TM: You and Rachel Griffiths are the newcomers to Broadway, having not done the Off-Broadway production. Have you been treated differently by the cast or by Joe?
JL: No. Not only is the brilliance and genius of these people quite extraordinary, but their generosity has been amazing. I wish we were making a documentary of the process of our coming into this show so everyone could see how powerfully we’ve been taken in. Thomas even put together two dinners with the cast, one in New York and one in Los Angeles, before we started; he basically said “let’s get together and be a family offstage since we’re going to be one onstage.” I have never felt like an outsider.